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1

Z marginesów do centrum. nieformalne i „niewłaściwe” praktyki widzów filmowych

100%

Filiciak M.

Kwartalnik Filmowy

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2014

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issue 85

88-99

PL

Tekst jest poświęcony znaczeniu pozafilmowych kontekstów dla badań filmu. Autor dokonuje przeglądu relacji między polskim filmoznawstwem i badaniami społecznymi, postulując ich zacieśnienie – szczególnie istotne w kontekście przemian technologicznych wprowadzających film w nowe obiegi. W artykule zostaje też poddany refleksji udział badaczy w wytwarzaniu „wiedzy zinstytucjonalizowanej” i jego konsekwencje. Autor sugeruje również zmianę rozumienia samego filmu, włączając w jego zakres również inne elementy sieci, w których film funkcjonuje.

EN

The article deals with the meaning of practices and contexts that are not part of films themselves, but are important in the area of film studies. The author analyses the relation between Polish film studies and social science research. He argues for closer ties between these two disciplines, especially in the context of technological changes that introduce film to new audiences. In the article the author also reflects on the participation of researchers in the production of “institutionalised knowledge” and its consequences. The author also suggests a change in the understanding of film itself. He argues that one needs to take into the account elements of social network within which the film is present.

2

Kina warszawskie: wrzesień–grudzień 1939 roku

75%

Szymański K.

Przegląd Humanistyczny

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2017

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vol. 61(2 (457))

161-179

PL

Karol Szymański depicts the history of the Warsaw cinemas and analyzes the cinema repertoire in the particular time from September to December 1939 (that is from the outbreak of World War II, through the defense and the siege of Warsaw, until the first months of the German occupation) taking into account a wider context of living conditions in the capital as well as a changing front and political situation. The author draws attention, among other things, to the rapid decrease in the cinema audience in the first week of September. As a consequence cinemas ceased to work, which made them unable to fulfill their informational or propaganda role and provide the inhabitants of the fighting city with the escapist or uplifting entertainment. During the siege of Warsaw some cinemas changed their functions and became a shelter for several thousand fire victims and refugees, while others were irretrievably destroyed in bombings and fires. In turn, after the capitulation and takeover of the city by the Germans, some of the most representative cinemas which survived (they were entirely expropriated by the administration of the General Government) began to gradually resume their activity from the beginning of November. By the end of 1939 there were already eight reactivated cinemas in Warsaw, including one (Helgoland, former Palladium) intended only for the Germans. These cinemas showed only German films – they were entertaining productions which were well-executed, devoid of explicit propaganda or ideological elements, with the greatest stars of the Third Reich cinema. However, December 1939 brought also the first action of the Polish resistance against German cinemas and cinema audience in Warsaw, which in the years to come developed and became an important element of the civilian fight against the occupant.

3

Badania widowni filmowej: historia i współczesność (rekonesans bibliograficzny)

75%

Klejsa K.

Kwartalnik Filmowy

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2014

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issue 85

100-117

PL

Autor opisuje historię badań nad widownią filmową w krajach zachodniego kręgu kulturowego – od prac naukowych powstałych w okresie kina niemego, przez badania podejmowane na zlecenie Hollywood przez Gallupa, paradygmat „oddziaływań i wpływu” w badaniach nad teorią komunikowania, przełom semiotyczno-poststrukturalny, aż po współczesne opracowania inspirowane tzw. nową historią kina. Odrębnie zostały przedstawione polskie badania nad publicznością filmową, początkowo prowadzone przez pedagogów, następnie – socjologów, wreszcie – kulturoznawców i filmoznawców.

EN

The author describes the history of research on film audiences in the Western cultural sphere – from scientific works created during the silent film era, through studies undertaken on behalf of Hollywood by Gallup, the paradigm of “impact and influence” in the research on the theory of communication, the semiotic-poststructural breakthrough, up to modern works inspired by the so called New Film History. Polish research on film audience are presented separately. It was first carried out by pedagogues, then – sociologists, finally – cultural studies and film scholars.

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2 Kwartalnik Filmowy

1 Przegląd Humanistyczny

1 2017

2 2014

1 Filiciak M.

1 Klejsa K.

1 Szymański K.

Z marginesów do centrum. nieformalne i „niewłaściwe” praktyki widzów filmowych

Kina warszawskie: wrzesień–grudzień 1939 roku

Badania widowni filmowej: historia i współczesność (rekonesans bibliograficzny)